29 May 2017

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YELLOW ELK TREE, 1986
YELLOW ELK TREE, 1986
Barrie Cooke HRHA (1931-2014)

Auction Date / Lot No.: 29 May 2017 / 51

Published Estimate: €6,000-8,000

Price Realised: €10500

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 68 x 68in. (172.72 x 172.72cm)
  • Provenance: Kerlin Gallery; Private collection
  • Exhibited
  • Literature
  • In 2011 the Irish Museum of Modern Art hosted a major exhibition of Cooke's work to mark his 80th birthday. The show included some 70 paintings and sculptural works from the early 1960s to more contemporary examples. Nature and the nude figure (see lot 52) were dominant themes in that important exhibition.

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RECLINING NUDE, 1965
RECLINING NUDE, 1965
Barrie Cooke HRHA (1931-2014)

Auction Date / Lot No.: 29 May 2017 / 52

Published Estimate: €10,000-15,000

Price Realised: €9500

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 35¾ x 39¾in. (90.81 x 100.97cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • In 2011 the Irish Museum of Modern Art hosted a major exhibition of Cooke's work to mark his 80th birthday. The show included some 70 paintings and sculptural works from the early 1960s to more contemporary examples. Nature and the nude figure (see lot 51) were dominant themes in that important exhibition.

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UNTITLED, 1958
UNTITLED, 1958
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 29 May 2017 / 53

Published Estimate: €6,000-12,000

Price Realised: €0

  • Signature: signed and dated upper right
  • Medium: oil on brown Kraft paper
  • Dimensions: 19¼ x 29¾in. (48.90 x 75.57cm)
  • Provenance
  • Exhibited
  • Literature
  • In 1958, Camille Souter was awarded an Italian Government travel scholarship of 240.000 lire. It was not a fantastically large sum but she also sold a large number of works through the office of Dr. Michael Scott of Scott Tallon Walker Architects that helped to finance a trip to Italy. Souter would spend most of her time in the Veneto region, arriving in the fishing port of Chioggia on 25 September. After a couple of weeks living on the Calle Olivotti, she moved to a family owned farm in nearby Sottomarina. Even with the benefit of a scholarship, times were tough. It is telling that the owners of the farm referred to her as “povera Camille” or “poor Camille”. This work was almost certainly painted during, or shortly after, Souter’s Italian sojourn. Like many of her early works, it makes use of relatively cheap non-traditional materials. It has been painted on brown Kraft paper and employs relatively simplified pared down graphic elements - black lines over a lightly textured ochre background. As is often the case with Souter’s early paintings, the subject matter is not immediately obvious. This does not mean that it is a non-representational “abstract” painting as artists such as Wassily Kandinsky understood the term. All of Souter’s paintings are representational. Some, such as this work, use more symbolic forms. They operate in a manner similar to signs and are intended to signify something experienced personally. It is difficult to be certain what is signified in this instance; however there is a deliberate structure to the lines in the painting that is suggestive of a boat in a channel of water. The diagonal and vertical lines almost appear to mimic the movement of a pole propelling a gondola. It is pushed vertically downward. The point of contact on the canal bed moves away from the back of gondola as the vessel is driven forward. The pole is then lifted upward out of the water before the process repeated. It moves from close to vertical to diagonal with each stroke. The two horizontals, to my mind, may delineate the edge of a canal. This is a very modern approach to painting. The geometry or perspective is psychological and non-Euclidean. We are not being presented with a single instant isolated in space and time but a sequence of movements. Souter would adopt a similar approach in several of her paintings during the fifties. One need only look to The Chess Game, Cycling to Chioggia and Buon Divertimento for examples. The latter two paintings were also produced in 1958 during Souter’s stay in Italy. Garrett Cormican

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JAPANESE COMPOSITION II, 1956
JAPANESE COMPOSITION II, 1956
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 29 May 2017 / 54

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: signed and dated lower centre
  • Medium: watercolour and gouache on Japanese tissue
  • Dimensions: 14½ x 19¼in. (36.83 x 48.90cm)
  • Provenance: Collection of Sir Basil Goulding; His Estate sale, Taylor Galleries, 1982; Private collection
  • Exhibited
  • Literature: Camille Souter, The Mirror And The Sea by Garret Cormican, published by Whyte's Dublin, 2006, catalogue no. 28, p. 216 (illustrated p. 218)
  • According to the artist the composition was actually based on Chinese script and the title 'Japanese Composition' was not given by her to the two works by that name.

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MAN AND WIFE, 1934
MAN AND WIFE, 1934
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 29 May 2017 / 55

Published Estimate: €70,000-90,000

Price Realised: €70000

  • Signature: signed, titled and dated on underside of base
  • Medium: sycamore wood; (unique)
  • Dimensions: 16½ x 8½ x 5½in. (41.91 x 21.59 x 13.97cm)
  • Provenance: Collection of George and Maura McClelland (acquired directly from the artist)
  • Exhibited
  • Literature: Mel Gooding, F.E. McWilliam Sculpture 1932-1989, exhibition catalogue, Tate Gallery Publications, London, 1989, p.38 (illustrated) The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.113 (illustrated) Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.36 (illustrated)
  • From McWilliam's accurate dating of 34.01, this work was completed by artist as his first work in 1934, when he and his wife Beth, who he had married in 1932, lived in Chartridge, Buckinghamshire. In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John's Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since: 'it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne and the presence of Picasso.' He met Zadkine and visited his studio and he also went to Brancusi's studio and was given an extensive tour by the Romanian sculptor with long discussions on his work practice. However, in 1932/33 sterling collapsed against the French franc and both Beth and "Mac" (as he was known affectionately by his friends) were forced to return to England where they rented a home in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores. With the ready material of the trees and the space available McWilliam began carving, which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students in London and through him was introduced to Henry Moore. MacCann had been a student of Moore's at the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was enormous, not only in England but also internationally. 'Man and Wife', incorporates the simple forms, the reduction of facial features, the merging of the two bodies which are still manifestly recognizable as a man and a woman in close harmony. George McClelland loved the integrity of this work but it took some persuading to get McWilliam to part with it, possibly because the work reminded the sculptor of the early years of his marriage and his love for his wife, Beth. McClelland, desired it too for a similar reason, as it reminded George of himself, his larger frame towering over his more petite wife, Maura. Dr Denise Ferran May 2017

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CAESAR, 1949
CAESAR, 1949
Hilary Heron (1923-1977)

Auction Date / Lot No.: 29 May 2017 / 56

Published Estimate: €2,000-3,000

Price Realised: €3400

  • Signature: signed with initials and dated
  • Medium: beechwood; (unique)
  • Dimensions: 24 x 10¼ x 4½in. (60.96 x 26.04 x 11.43cm)
  • Provenance
  • Exhibited
  • Literature
  • Hilary Heron was born in Dublin and spent her childhood in New Ross, County Wexford, and Coleraine, County Derry. She was educated privately at home and at Ivory's one-teacher school in New Ross. She attended the National College of Art, Dublin, where she won three Taylor Prizes from the Royal Dublin Society (RDS). For sculpture in wood, limestone and marble she was awarded the first Mainie Jellett Memorial Travelling Scholarship in 1947. In the same year, she went to Italy and France to study Romanesque carving. She was instrumental in founding the Irish Exhibition of Living Art, and first exhibited there in 1943. With Louis le Brocquy, she represented Ireland at the Venice Biennale in 1956. In 1950 and 1953 she held two solo exhibitions in Dublin at the Waddington Gallery. In the 1950s she began to work in metal. In 1958 she was commissioned by the Irish government to complete work for an Irish exhibit at New York, and in 1960 her first exhibition in England was shown at the Waddington Galleries in London, where she displayed more than thirty works. One English critic saw her work as assimilating exotic styles with a great feel for nature, remarking that ‘she brings something fresh, diverting, and also very genuine to our inbred world of sculpture’ (Neville Wallis, quoted in Snoddy, p. 253). She travelled in Asia, America and Europe, and her works are in many private and public collections, both in Ireland and overseas, including The Irish Museum of Modern Art.

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WOMAN STANDING [ELONGATED FIGURE], 1955
WOMAN STANDING [ELONGATED FIGURE], 1955
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 29 May 2017 / 57

Published Estimate: €25,000-35,000

Price Realised: €0

  • Signature: signed with initials on base
  • Medium: bronze; (unique)
  • Dimensions: 23¾ x 6 x 4in. (60.33 x 15.24 x 10.16cm)
  • Provenance: Collection of Peter Barker Mill; Grosvenor Gallery, London; Private collection
  • Exhibited
  • Literature: Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.50 (illustrated)
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BLUE STILL LIFE, 1969-1970
BLUE STILL LIFE, 1969-1970
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 29 May 2017 / 58

Published Estimate: €400,000-600,000

Price Realised: €450000

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 48 x 72in. (121.92 x 182.88cm)
  • Provenance: with Hanover Gallery, London; Where purchased by Richard Davis, New York, 8 September 1970; Thence by descent to the previous owner; Christie's, 16 November 2007, lot 72; with Richard Green, London, 2008; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • In a review of the major one-man show in New York in 1973, that included Blue Still Life, Hilton Kramer - the influential and provocative critic of the New York Times - described William Scott as "an artist of uncommon distinction - not only the best painter of his generation in England, but one of the best anywhere."(1) The show was to mark Scott's sixtieth birthday, but recognition for his particular contribution to Modernism had been growing over the years, leading to his inclusion to represent Britain at the Venice Biennale in 1958, a major retrospective at the Tate Gallery in London in 1972, and the reproduction of his Berlin Blues 1 painting on an Irish postage stamp in 1973. Scott was, however, continuing to innovate, and the New York show comprised recent works taking his interests to a new level of resolution, including those like Blue Still Life eloquently employing the "rich Mediterranean blues" that had become a signature dimension of his work. Kramer perceptively summarized the paintings in the exhibition as "abstractions based mainly on still-life motifs." While Scott had addressed other subjects from time to time over the years, including landscape, portraiture and the nude, still life was the enduring thematic interest for the artist from an early stage and throughout his career. He asserted his preference for man-made objects over nature, and the contours of still life were interesting in themselves as well as providing a significant basis for his evolving propensity towards abstraction. They were reminiscent also of the domestic environment of his working class origins; as he explained "the objects I painted were the symbols of the life I knew best."(2) Born in Greenock, Scotland in 1913, Scott moved with his family to his father's native Enniskillen in 1924. Initially he learned the skills of sign-writing from his father and attended art classes with Kathleen Bridle who introduced him to Modernist art and to the writings of Roger Fry that would resonate with Scott, not least in highlighting the importance of representing familiar objects over more narrative-based subject matter. Later, Scott went to the Belfast School of Art and then the Royal Academy Schools in London. Following his marriage, he and his wife, artist Mary Lucas, spent time on the Continent - including to Mediterranean towns in the south of France - travelling, seeing art and teaching, before returning to Britain where he later took up a role at the Bath Academy of Art. Scott became a regular visitor to St Ives, and knew many of the artists there. In 1953, a visit to New York brought him into contact with Mark Rothko, Jackson Pollock and Willem de Kooning. While in Paris with his wife, Scott saw his first Matisse painting, a still life with drapery that entranced him reflecting a burgeoning interest and the direction his own work was to take.(3) On a later visit to Paris, in 1946, Scott was captivated by the exhibition A Thousand Years of Still Life Painting, where he "was overwhelmed by the fact that the subject had hardly changed for a thousand years, and yet each generation in turn expressed its own period and feelings and time within this terribly limited narrow range of the still life."(4) While his earliest still life paintings are the most naturalistic, Scott's interest in stylization and in abstracting are evident throughout his career as a painter; his focus on the structure and contours of composition and forms predominate over illusionism and mimesis, demonstrating his interest in primitivist forms and an austere aesthetic. The clustered still life objects of the late 1950s increasingly gave way to abstraction evolving to the celebrated Berlin Blues series in the mid 1960s. In the words of Clive Bell, Scott evinced a "truly remarkable gift of placing",(5) a capacity that became especially evident as Scott pioneered the representation of ordinary subjects on large canvases, with an almost classical presence, as in the commanding scale of Blue Still Life. The late still lifes, as this work demonstrates, comprise emblems on the cusp of abstraction; the familiar contours of utensils are distilled to pure flat forms dispersed on the canvas in a finely tuned arrangement, remote from the practical groupings of the kitchen from which they once derived. Mitigating their potential asceticism, however, Scott had expressed a desire "to animate a still life in the sense that one could animate a figure. I chose my objects … objects without much glamour"(6) indicating their humble origins and enduring personal relevance. His achievement is reflected in Kramer's comments in his New York Times review that Scott "invests this radically delimited imagery with a distinct mode of feeling" explaining that while highly simplified, the works evoke a "remarkable poetic resonance … and suggest a very personal emotional atmosphere." In Blue Still Life, the soft blurring of the familiar contours and the 'haloes' around selected objects balance the cool austerity of uncluttered space, the sparsely populated kitchen repertoire of the working class household in interwar cities. But there is no sense of deprivation, and the image 'breathes' with the space of sufficiency rather than indulgence. Close inspection shows too the flecks and drizzles of paint that, far from the machine aesthetic of Minimalism, reveal the handcraft of construction, abstraction animated by reality. Kramer appropriately summarized the 1973 show that included this painting. (7) "This is a beautiful exhibition, full of wonderful painterly subtleties and the kind of pictorial eloquence we would expect only from a mature artist in complete control of his medium." Dr Yvonne Scott, May 2017 (1) Hilton Kramer, 'Painterly Subtleties Fill Work of Scott', New York Times, 6 January, 1973, p.25. The show was at the Martha Jackson Gallery, New York early in 1973 to mark the artist's sixtieth birthday. (2) Lawrence Alloway, Nine Abstract Artists, their work and theory, London 1954, p.37, quoted in Norbert Lynton, William Scott, London 2007, p.30. (3) Norbert Lynton, William Scott (year), p.23. (4) Alan Bowness, 1964, quoted in Lynton, p.61. (5) Clive Bell, quoted in Lynton, p.42. (6) William Scott, quoted by Theo Crosby, 1957, reproduced in Lynton, p.76. (7) Kramer, op.cit.

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UNTITLED
UNTITLED
Breon O'Casey (1928-2011)

Auction Date / Lot No.: 29 May 2017 / 59

Published Estimate: €1,500-2,000

Price Realised: €950


FRUIT ON A WINDOWSILL, 1965
FRUIT ON A WINDOWSILL, 1965
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 60

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed with initials lower right; titled and dated [Nov 21] lower left; with Taylor Galleries label on reverse
  • Medium: conté
  • Dimensions: 9¼ x 12½in. (23½ x 31¾cm)
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited
  • Literature
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UNTITLED, 1972
UNTITLED, 1972
Jonathan Wade (1941-1973)

Auction Date / Lot No.: 29 May 2017 / 61

Published Estimate: €800-1,200

Price Realised: €1400


ALEXANDER SUITE: LINES WITH BREADTH SUPERCEDE, 1972
ALEXANDER SUITE: LINES WITH BREADTH SUPERCEDE, 1972
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 29 May 2017 / 62

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed and dated lower right; numbered lower left
  • Medium: screenprint; (no. 9 from an edition of 72)
  • Dimensions: 22 x 15in. (55.88 x 38.10cm)
  • Provenance: The Fine Art Society, London; Private collection
  • Exhibited
  • Literature
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ST MARTIN'S PAINTINGS II, 1973
ST MARTIN'S PAINTINGS II, 1973
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 63

Published Estimate: €1,000-1,500

Price Realised: €2600

  • Signature: signed with initials lower left; dated lower right; signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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UNTITLED [TABLE], MARCH 1974
UNTITLED [TABLE], MARCH 1974
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 64

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed with initials and dated lower right
  • Medium: gouache on paper
  • Dimensions: 10¾ x 7½in. (27.31 x 19.05cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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ISLAND INSCAPE, 1981
ISLAND INSCAPE, 1981
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 65

Published Estimate: €12,000-15,000

Price Realised: €15000

  • Signature: signed with initials lower centre and dated [6/81] lower right; signed in English and Irish, titled, dated and numbered [R240 & 249] on reverse
  • Medium: oil on board
  • Dimensions: 48 x 36in. (121.92 x 91.44cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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AUTUMN AND BLACK, 1979
AUTUMN AND BLACK, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 66

Published Estimate: €2,000-3,000

Price Realised: €3000

  • Signature: signed with initials upper left; dated [10/79] lower right; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 14¾ x 20¾in. (37.47 x 52.71cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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ANCIENT FACE, 1972
ANCIENT FACE, 1972
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 67

Published Estimate: €2,000-3,000

Price Realised: €2700

  • Signature: signed with initials and dated lower right; inscribed with title, signed with initials and dated on reverse; with label inscribed [Collection Irish Museum Modern Art]
  • Medium: oil on board
  • Dimensions: 11½ x 11½in. (29.21 x 29.21cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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BAHAMAS SERIES: OUTDOOR STUDIO NO.1 [NASSAU], 1979
BAHAMAS SERIES: OUTDOOR STUDIO NO.1 [NASSAU], 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 68

Published Estimate: €12,000-15,000

Price Realised: €0

  • Signature: signed with initials lower right; signed, titled, dated and numbered on reverse
  • Medium: oil on board
  • Dimensions: 48 x 34½in. (121.92 x 87.63cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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BLIND BLAKE'S GOOMBAY SONG, 1977
BLIND BLAKE'S GOOMBAY SONG, 1977
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 69

Published Estimate: €1,500-2,000

Price Realised: €2300

  • Signature: signed with initials lower left; dated lower right; signed, titled and dated [5/77] on reverse
  • Medium: oil on canvas
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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UNTITLED, MAY 1975
UNTITLED, MAY 1975
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 70

Published Estimate: €1,000-1,500

Price Realised: €1200

  • Signature: signed with initials and dated lower left
  • Medium: gouache with collage elements
  • Dimensions: 6½ x 9¼in. (16.51 x 23½cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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OLD FIELD, CARBINE BRIDGE, CALLAN, COUNTY KILKENNY, 1979
OLD FIELD, CARBINE BRIDGE, CALLAN, COUNTY KILKENNY, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 71

Published Estimate: €12,000-15,000

Price Realised: €0

  • Signature: signed, titled, dated and numbered on reverse
  • Medium: oil on board
  • Dimensions: 36¼ x 47½in. (92.08 x 120.65cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982
SUSPENDED FORMS TRIPTYCH [RED, BLUE AND YELLOW], 1982
Sir Terry Frost RA (British, 1915-2003)

Auction Date / Lot No.: 29 May 2017 / 72

Published Estimate: €30,000-50,000

Price Realised: €30000

  • Signature: each signed, titled and dated on reverse
  • Medium: acrylic and collage on canvas; (3)
  • Dimensions: 56 x 72in. (142.24 x 182.88cm)
  • Provenance: Peter Nahum at The Leicester Galleries, London; Collection of George and Maura McClelland
  • Exhibited
  • Literature: Lewis, David, Terry Frost, Scolar Press, Leicester, 1994, p.127 (illustrated) Stephens, Chris, Terry Frost, Tate Publishing, 2000, p.71 (illustrated)
  • Sir Terry Frost RA was an English abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape. He became a leading exponent of abstract art and a primary figure of the British art world of the latter half of the twentieth century. Born in Leamington Spa, Warwickshire, in 1915, he did not become an artist until he was in his 30s. He left school aged fourteen and went to work in Coventry. During World War II, he served in France, the Middle East and Greece, before joining the Commandos. Whilst serving in Crete in June 1941 he was captured and sent to various prisoner of war camps. As a prisoner of war at Stalag 383 in Bavaria, he met Adrian Heath who encouraged him to paint. He later described those years as a ‘tremendous spiritual experience, a more aware or heightened perception during starvation’. As soon as the war was over he went to Birmingham College of Art, moving in the same year to Camberwell School of Art under Leonard Fuller. The following year, 1946, he relocated for a year to St. Ives School of Painting where his first solo exhibition was held in 1947 at G.R. Downing's bookshop, before returning to the Camberwell School of Art under Victor Passmore, Ben Nicholson and William Coldstream, with whose encouragement he showed his first abstract work in 1949. For three years he exhibited with the St. Ives Society of Artists, until in 1950 he was elected a member of the Penwith Society; he maintained a permanent connection with the Newlyn school. In the early 1950s he worked as an assistant to the sculptor Barbara Hepworth. He was joined there by Roger Hilton, with whom he began a collaboration in collage and construction techniques. His first solo exhibition was in 1952 at the Leicester Galleries in London. Frost's academic career included teaching at Bath Academy of Art, the Coventry Art College and the University of Leeds School of Art, where he was the Gregory Fellow from 1954 to 1956. In 1958 while still teaching at Leeds he joined the London Group. In 1964 he was made Artist in Residence at the Fine Art Department of Newcastle University and became a full time lecturer for the Department of Fine Art at Reading University in 1965. He became Professor of Painting at the University of Reading from 1977 to 1981. In 1992 he was elected a Royal Academician and he was knighted in 1998. In 1960 The Barbara Schaeffer Society in New York, hosted Frost's first exhibition in USA. There he met many of American Abstract Expressionists, including Marc Rothko who, along with his wife Mel, became great friends. Further solo exhibitions include the ICA, London (1971) and the Serpentine Gallery, London (1976). A retrospective exhibition of his work was held at the Mayor Gallery, London in 1990, and a major retrospective, ‘Terry Frost: Six Decades’, was held at the Royal Academy of Arts in London in 2000. A major exhibition of his work commemorated the centenary of his birth in 2015 at The Tate St. Ives. Sir Terry Frost's work is held in many prestigious public, corporate and private collections throughout the world, including the Tate Gallery, the V&A, and the British Museum.

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VISAGE SUR FOND ROUGE ORANGÉ [HEAD ONA RED GROUND] 1974
VISAGE SUR FOND ROUGE ORANGÉ [HEAD ONA RED GROUND] 1974
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 73

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed and dedicated [Pour Atish] lower left
  • Medium: Intaglio print on Arches paper; (Hors de Commerce)
  • Dimensions: 15½ x 15½in. (39.37 x 39.37cm)
  • Provenance
  • Exhibited
  • Literature
  • Sheet size 24.75 by 18.75in. From Seven Aquatints, published by Maeght Editeur, Paris in an edition of 75.

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VISAGE Á BOUCHE OUVERTE [IMAGE IN DARKNESS] 1974
VISAGE Á BOUCHE OUVERTE [IMAGE IN DARKNESS] 1974
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 74

Published Estimate: €1,000-1,500

Price Realised: €1600

  • Signature: signed and dedicated [Pour Atish, Bien Annualement] lower left
  • Medium: Intaglio print on Arches paper; (Hors de Commerce)
  • Dimensions: 15½ x 15½in. (39.37 x 39.37cm)
  • Provenance
  • Exhibited
  • Literature
  • Sheet size 24.75 by 18.75in.

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PROCESSION WITH LILIES, 1986
PROCESSION WITH LILIES, 1986
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 75

Published Estimate: €1,500-2,000

Price Realised: €2200

  • Signature: signed and dated lower right; numbered lower left
  • Medium: lithograph; (no. 24 from an edition of 50)
  • Dimensions: 11½ x 18¾in. (29.21 x 47.63cm)
  • Provenance
  • Exhibited
  • Literature
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THE TÁIN. THE BULL OF CUAILNGE [BLUE], 1989
THE TÁIN. THE BULL OF CUAILNGE [BLUE], 1989
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 76

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed and dated lower right; numbered lower left
  • Medium: lithograph on swiftbrook paper; (no. 138 from an edition of 140)
  • Dimensions: 14¾ x 21in. (37.47 x 53.34cm)
  • Provenance
  • Exhibited
  • Literature
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STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1977
STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1977
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 77

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed and dated lower left; signed, titled, dated and numbered [243] on reverse
  • Medium: charcoal
  • Dimensions: 8½ x 7in. (21.59 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 78

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed and dated lower left; inscribed on Dawson Gallery label on reverse
  • Medium: charcoal
  • Dimensions: 8½ x 6¾in. (21.59 x 17.15cm)
  • Provenance: Dawson Gallery, Dublin; Collection of Dr & Mrs J.B. Kearney; Adam's, 4 December 2007, lot 2; Private collection
  • Exhibited
  • Literature
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IMAGE OF SEAMUS HEANEY, 2009
IMAGE OF SEAMUS HEANEY, 2009
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 79

Published Estimate: €3,000-5,000

Price Realised: €3800

  • Signature: signed and numbered lower right
  • Medium: intaglio print on Japanese Kozu natural paper; (no. 13 from an edition of 75)
  • Dimensions: 23 x 17½in. (58.42 x 44.45cm)
  • Provenance
  • Exhibited
  • Literature
  • Sheet size 30 by 21.5in. Printed by Stoney Road Press, Dublin.

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EIGHT IRISH WRITERS [1981]
EIGHT IRISH WRITERS [1981]
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 80

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: inscribed [To Francis Stuart, 'with deep admiration and best wishes', Louis le Brocquy, XI 1981] on title page; numbered in red on editions page; each signed and numbered in pencil in the lower margin
  • Medium: collotype lithographs; (8); (no. 12 from the 'Hors de Commerce' edition of 25); unframed, in the original linen folio case
  • Dimensions: 13¾ x 11in. (34.93 x 27.94cm)
  • Provenance
  • Exhibited
  • Literature
  • A series of eight portraits depicting Yeats, Synge, Joyce, Beckett, Kinsella, Montague, Heaney and Stuart, accompanied by a poem by each respective author, a biographical note by Andrew Carpenter, and a preface by the late Seamus Heaney. The eight charcoal drawings were printed by collotype lithography at the Imprimerie Arte, Adrien Maeght, Paris, where the text was also printed. Presented in the original linen cased portfolio box made in Dublin by John F. Newman and Sons Ltd. Francis Stuart (1902-2000), whose portrait is included and to whom the artist personally inscribed this lot, was an Irish writer who spent much of the war years, 1939-1945, in Germany. His first wife was Iseult Gonne, Maud Gonne MacBride's daughter. He was elected a Saoi of Aosdána in 1996. He published over 30 works between 1923 and 1996. One hundred and twenty-five copies of this portfolio were produced. Those numbered H. C. (hors de commerce) 1-25 were for museum, library and private circulation.

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MUCH, c.1995
MUCH, c.1995
Helen O'Leary (b. 1961)

Auction Date / Lot No.: 29 May 2017 / 81

Published Estimate: €2,000-3,000

Price Realised: €1800

  • Signature: titled on reverse
  • Medium: oil on canvas
  • Dimensions: 65 x 65in. (165.10 x 165.10cm)
  • Provenance: Kerlin Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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HOUSE
HOUSE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 82

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil and pencil on canvas
  • Dimensions: 8¾ x 11½in. (22.23 x 29.21cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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IRISH SEA
IRISH SEA
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 29 May 2017 / 83

Published Estimate: €1,000-1,500

Price Realised: €1300


NAPKIN, 1972
NAPKIN, 1972
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 29 May 2017 / 84

Published Estimate: €2,500-3,500

Price Realised: €0

  • Signature: signed and dated lower right
  • Medium: oil on paper laid on board
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: A gift from the artist to the mother of the present owner
  • Exhibited
  • Literature
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THREE TREES
THREE TREES
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 85

Published Estimate: €4,000-6,000

Price Realised: €3600

  • Signature: signed lower left; titled lower right
  • Medium: oil on canvas
  • Dimensions: 14 x 10in. (35.56 x 25.40cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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TWO TREES
TWO TREES
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 86

Published Estimate: €3,000-4,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 11½ x 11½in. (29.21 x 29.21cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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PINK HOUSE
PINK HOUSE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 87

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 19½ x 15½in. (49.53 x 39.37cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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PINK TRACTOR
PINK TRACTOR
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 88

Published Estimate: €6,000-8,000

Price Realised: €7500

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 12¼ x 16½in. (31.12 x 41.91cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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THE BOXER
THE BOXER
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 89

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 24 x 24in. (60.96 x 60.96cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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GREY VAN
GREY VAN
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 90

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 11 x 15¼in. (27.94 x 38.74cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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FLOWER IN A GLASS
FLOWER IN A GLASS
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 91

Published Estimate: €1,500-2,000

Price Realised: €2700

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 7½ x 5¾in. (19.05 x 14.61cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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NUDE
NUDE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 92

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 18¾ x 13¼in. (47.63 x 33.66cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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WOMEN GIVING BIRTH TO MEN, 2001-2003 (SET OF FORTY)
WOMEN GIVING BIRTH TO MEN, 2001-2003 (SET OF FORTY)
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29 May 2017 / 93

Published Estimate: €20,000-30,000

Price Realised: €0

  • Signature
  • Medium: pastel; (40)
  • Dimensions: 37½ x 24½in. (95¼ x 62.23cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: Brian Bourke, Five Decades, 1960s-2000s, The Lilliput Press, Dublin, 2010, pps.79-83 (illustrated)
  • Bourke has repeatedly turned to women as subjects for his paintings and something about the female body certainly lends itself to the sinuous and expressively seductive shapes that we associate with this artist's work. However, while most of his portraits are based on specific women, the important series of paintings called Women Giving Birth to Men depicts women in a more generic way. Because of the ease that comes from Bourke's natural technical virtuosity, he tries to avoid complacency. His brings the female figure into a territory devoid of sentimentality, comfort and prettiness. In this series of paintings he deliberately challenges the viewer to make sense of the subject. The women are in pairs or in larger groups and are interacting so casually that, rather than giving birth, they seem more like women out on a shopping spree. There certainly is a very 'clubby' feel to their interaction. As for giving birth, there is certainly no evidence of any pain on the part of these women, but rather on the howling and terrified faces of the men. It is obvious from the way Bourke handles the subject (nothing literal about the way he paints it) that birth really isn't the subject at all. More likely, he's dealing with the relationship between men and women or, more particularly, between himself and women. If this is the case, he seems to feel more than a little isolated and hard done by. In this series the theme of self-mockery and dislocation which threads itself in and out of Bourke's work over the years has emerged full-blown. These pastels have tremendous visual presence, full of the energy and flamboyance that makes Bourke's work so appealing and immediately recognisable. He pushes colour to its limits with wild pulsating backgrounds and exaggerated intensity; his subjects are reshaped to the rhythms of his sinuous line. Anyone looking at these paintings cannot fail to recognise the unique and identifiable imprint of the artist. Dr. Frances Ruane HRHA April 2017

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SORRENTO TERRACE, DALKEY, COUNTY DUBLIN
SORRENTO TERRACE, DALKEY, COUNTY DUBLIN
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29 May 2017 / 94

Published Estimate: €1,500-2,000

Price Realised: €0


RACE TO THE END, 2006
RACE TO THE END, 2006
Charles Harper RHA (b.1943)

Auction Date / Lot No.: 29 May 2017 / 95

Published Estimate: €2,000-3,000

Price Realised: €4800

  • Signature: signed and dated lower right; signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 39½ x 39½in. (100.33 x 100.33cm)
  • Provenance
  • Exhibited
  • Literature
  • Charles Harper was born on Valencia Island Co. Kerry in 1943. He studied art at Limerick School of Art and the National College of Art in Dublin as well as filmmaking in Bonn, Germany. He exhibits regularly in Ireland and abroad. Harper primarily uses a metaphoric approach to painting using such motifs as the boat, angels, balance, landscape, and the figure. He has represented Ireland many times abroad in such countries as India, Switzerland, Italy, Latvia, England, France, the US and Sweden. He has received eight National Awards for his painting, including First prize for Painting commemorating the 1916 Rising at the Municipal Gallery of Modern Art, Dublin, The Carrols Open Award at the Irish Exhibition of Living Art in 1971, the Arts Councils Bonn an Uachtarain de Hide at The Oireachtas Art Exhibition. His work is included in many important public and private collections including the Irish Museum of Modern Art and the San Francisco Museum of Modern Art to name a few. He was a lecturer at Limerick School of Art and Design (LIT), now retired. He is a founder member of Aosdána and a member of the RHA since 2002.

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FLOWER WITH ARNOLFINI REFLECTION, 1999
FLOWER WITH ARNOLFINI REFLECTION, 1999
Nick Miller (b.1962)

Auction Date / Lot No.: 29 May 2017 / 96

Published Estimate: €4,000-6,000

Price Realised: €5200

  • Signature: signed lower left; dated lower right; and with Rubicon Gallery label on reverse
  • Medium: oil on linen
  • Dimensions: 36 x 40in. (91.44 x 101.60cm)
  • Provenance: Rubicon Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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CLOUDS, 1998
CLOUDS, 1998
Diana Copperwhite ARHA (b.1969)

Auction Date / Lot No.: 29 May 2017 / 97

Published Estimate: €3,000-5,000

Price Realised: €6200

  • Signature: signed, titled and dated on reverse; also with Rubicon Gallery [Dublin] label on reverse
  • Medium: oil on canvas
  • Dimensions: 54 x 54in. (137.16 x 137.16cm)
  • Provenance
  • Exhibited
  • Literature
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ABSTRACT, 1988
ABSTRACT, 1988
Albert Irvin RA OBE (British, 1922-2015)

Auction Date / Lot No.: 29 May 2017 / 98

Published Estimate: €6,000-8,000

Price Realised: €9500

  • Signature: signed and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 60 x 84in. (152.40 x 213.36cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Albert Henry Thomas Irvin OBE RA was an English Abstract Expressionist painter. He studied at the Northampton School of Art between 1940 and 1941, before joining the Royal Air Force as a navigator. When the war was over he resumed his studies, this time at Goldsmiths College from 1946 to 1950, where he would later go on to teach between 1962 and 1983. He was elected to The London Group in 1955. He worked in studios in the East End of London from 1970 onwards. Irvin won a Major Arts Council Award in 1975 and a Gulbenkian Award for printmaking in 1983. He was elected a Royal Academian in 1998. Exhibitions of his work include: the Arts Council of Great Britain, Birmingham City Art Gallery, the Chase Manhattan Bank, the Contemporary Art Society, Manchester City Art Gallery, Tate Britain, the Victoria and Albert Museum and Warwick University Arts Centre. Among his influences were Walter Sickert, Henri Matisse, Joseph Mallord William Turner, Jack Smith and Edward Middleditch. Irvin was appointed Officer of the Order of the British Empire (OBE) in the 2013 Birthday Honours for services to the visual arts.

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UNITED FIELD PAINTING, 2006
UNITED FIELD PAINTING, 2006
John Noel Smith (b.1952)

Auction Date / Lot No.: 29 May 2017 / 99

Published Estimate: €800-1,200

Price Realised: €2600

  • Signature: signed, dated and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 12in. (50.80 x 30.48cm)
  • Provenance: Hillsboro Fine Art, Dublin; Private collection
  • Exhibited
  • Literature
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THE ROBERT BALLAGH MONOGRAPH
THE ROBERT BALLAGH MONOGRAPH
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 May 2017 / 100

Published Estimate: €1,000-1,500

Price Realised: €950

  • Signature: signed, dated ['09] and numbered on inside cover
  • Medium: limited edition monograph; (no. 253 from an edition of 350)
  • Dimensions: 15¾ x 13in. (40.01 x 33.02cm)
  • Provenance
  • Exhibited
  • Literature
  • This exclusive monograph which chronicles the life and work of the Irish artist Robert Ballagh is published in two volumes and presented in a specially designed, handmade solander case. It is strictly limited to an edition of 350 with each copy signed, numbered and dated by the artist. Each individual copy is protected in a custom made canvas slip which is embroidered with the artists monogram. The accompanying text in two separate volumes, titled The Early Years and Citizen Artist, has been written by Ciaran Carty. The design and production of the monograph has been directed by Paul Rattigan. Each copy of the edition contains 24 original gicleé prints which have been hand produced by Bernard Ruijgrok at Piezografie Studio in Amsterdam, using archival inks on acid free museum quality paper with each print individually embossed with the artist’s own monogram. The volumes have been hand-bound by Wim Kamsteeg of Boekbinderij De Distelkamp in Arnhem and the solander case hand-made by Judith van Daal and Pau Groenendijk of Mooie Boeken, Amsterdam.

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